Graphic violence is a common element in movies today. It serves to entertain and excite crowds, adding suspense to each scene. In the 70’s and 80’s, the violence in Stanley Kubrick’s films served a different purpose. Not only did he seek to entertain and please, Kubrick sought to instill fear in viewers, in hopes that they learn to avoid violence altogether. His films rely heavily upon suspense techniques, aimed at dramatizing demonic characters. The colors, music, and cinematography are used to drive suspense, and bring the twisted characters to life. These stylistic traits effectively instill fear in the observer and leave one drained of any desire to commit such crimes. A Clockwork Orange (1971), The Shining (1980), and Full Metal Jacket (1987) are prime examples of how Kubrick repeatedly relies on violence and mental instability to evoke fear and send a message about violence. In turn, these films along with several of his others, manage to inspire peace while simultaneously bringing an ingenious elegance to brutality.

The first thing to grab ones attention at the start of a Kubrick movie is the music. Most notably, the introduction

The American film industry has gone through drastic changes throughout history. Changes within the industry have profound effects on the types of film created during that time. The Production Code was rigid set of guidelines film industries abided by that limited the content filmmakers could showcase in their films. After its downfall, filmmakers had developed more freedom to create the types of the films they wanted. This led filmmakers to push the boundaries and create more controversial films. In the 1970’s, this was taken one step further with the rise of the X film. It is interesting to see how the changes that the American film industry experienced through the abolishment of the Production Code, and the creation of the MPAA ratings system drastically affected the content of films created at the time. The difference between the types of films created before and after the Production Code can be seen by evaluating The Sound of Music (1965) made right before the end of the Production Code and The Graduate (1967) made right after the end of the Production Code. The MPAA ratings system allowed for more